Rama consecrates the sacrificial horse for the Ashvamedha Yagna

After consolidating his position as Ayodhya’s ruler, Rama decides to hold the sacrificial ritual of the Ashwamedha yajna, to ensure peace, prosperity and unchallenged sovereignty of his kingdom. According to the ritual, a horse is selected and consecrated, ritual offerings are made and the horse is then released to freely move around all kingdoms across the entire land, with the King’s army following it. All those who accept the sovereignty of the king undertaking the Ashvamedha yagna honour the horse, pay tribute to the king and become his vassals. A ruler who wishes not to accept suzerainty, however, captures the horse and confronts the army following the horse.

According to the text of the Uttara Ramayana, a later exposition to the Valmiki Ramayana, a spacious sacrificial ground was made along the banks of the river Gomti in the Naimisha forest. Rama set free a black horse, gifted with all auspicious marks and placed his brother Lakshmana in charge of it. The sacrificial ritual was attended by mighty kings of the various lands as well as the simian king Sugriva and the king of Lanka Vibhishana.

Gifts and alms of gold, lands and jewels were generously and profusely given to all, such that Rama’s generosity at the sacrifice surpassed the generosity of the gods themselves.

The artist renders the scene of the sacrifice in a courtyard surrounded by an interlocking network of planes that make up the architecture of the palaces. From the little windows of the palace women peep out or can be seen conversing amongst themselves. In the centre, a charming pavilion is erected with a canopy fashioned with little ornamental birds perched upon the structure, marking the sacred space. The blue skinned Rama is depicted under the canopy, consecrating the horse selected for the sacrifice - here depicted as white rather than the dark one as referred to in the text. On Rama’s left is a statue of gold depicting Sita, Rama’s wife who was in exile living in the hermitage of the sage Valmiki, acting as her substitute in the sacrificial ritual which could not have commenced without her presence according to the scriptures. The old sage Vishvamitra along with his two disciples chant the prescribed mantras around the consecrated fire while ritual offerings to be placed in the fire are laid in front.

The central group is surrounded by the many princes and kings on the left of the painting, including the King of Lanka, Vibhisana. Above them a group of women sit in rows. On the right horses and buffaloes are donated to men who raise their arms in a gesture of both submission and gratitude. Rama’s army awaits the completion of the rituals to accompany the consecrated horse on its meanderings on the lower right, while the festive occasion is celebrated with the strains of trumpets and the beating of naqqaras on the lower left.

Brightly coloured areas are delicately balanced by the stark whites and muted pinks and soft browns. The line though fluid is styled according to the idiom of early nineteenth century, with shorter figures, a straighter profile joining the forehead and the nose, and stiffer poses of the bodies.